


Between the Lines

by ciaramaywillson



Category: Original Work
Genre: (Characters), (again - plural), Canon Non-Binary Character, Canon Trans Character, Emotional/Psychological Abuse, F/F, F/M, Homophobia, Hurt/Comfort, Implied/Referenced Rape/Non-con, Keaton Henson, M/M, Original Fiction, Other, Poetry, Queer Families, Queer Themes, Queer Youth, Queerplatonic Relationships, Suicide Attempt, Theatre, original play, play, wlw
Language: English
Status: Completed
Published: 2016-05-19
Updated: 2016-05-19
Packaged: 2018-06-09 09:56:42
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 14,876
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/6901213
Author URL: https://archiveofourown.org/users/ciaramaywillson/pseuds/ciaramaywillson
Summary: <blockquote class="userstuff">
              <p>Eight students, a teacher, a photographer, a little kid, and a school that doesn't give a shit about art.<br/>They decide it's about time it did.</p><p>Poetry, pain, love, hate, distance, physical theatre, and a lot of Keaton Henson.</p><p>A play in two acts by Ciara May Willson</p>
            </blockquote>





	Between the Lines

**Author's Note:**

> **Inspirations**  
>  Keaton Henson  
> Tennessee Williams  
> Frantic Assembly 
> 
> **Name Pronunciation**  
>  Caoilfhionn - kee-lin  
> Caoi - kee  
> Boyadjiev - boy-ee-a-jee-ef  
> Basilah - ba-sill-a  
>    
>  **Characters**  
>  Alice ‘Al’ Duff – 17-year-old cis girl, wheelchair bound  
> Esmée Patel – 16-year-old cis girl, French Muslim  
> Caoilfhionn ‘Caoi’ McGuire – 17-year-old agender person, Irish orphan  
> Jaye ‘J’ Elliott – 17-year-old genderfluid person, narrator of the play  
> Charlotte ‘Lottie’ Pemberton – 16-year-old cis girl, English aristocrat  
> Cecilia ‘Ceci’ Darcy – 16-year-old cis girl, British-American  
> Finley ‘Fin’ Aldridge – 17-year-old cis boy, English aristocrat  
> Jack Boyadjiev – 16-year-old demi-boy, British-Bulgarian  
> Donovan ‘Don’ Lewis-McGuire – 26-year-old cis man, Caoi’s brother  
> Daniel ‘Dan’ Lewis-McGuire – 27-year-old trans man, Don’s husband  
> Basilah Lewis-McGuire – 2-year-old girl, Syrian refugee
> 
>  **Music**  
>  Playlist of the songs used in this piece - all by Keaton Henson  
> https://m.youtube.com/playlist?list=PLchUcQM0N1x4xGG2pYOE_33jAwqKbPsyA

**Act 1, Prologue**

_[_ ALICE _lies on three trunks – her bed at home – asleep.  There is a wheelchair at the end of her bed, SL.  Three other trunks are piled up at the back, and atop them sits_ J _.  She has a notebook and pencil with her.  As the audience enters, she acknowledges them, but does not speak.  A playlist of Keaton Henson songs which are not used in the play is soft in the background.  The house lights fade, the music stops, and_ J _addresses the audience.]_

J         I am a child.  Many teenagers will spend the years of the adolescence denying their childhood, preening under the compliment ‘mature’.  I was not averse to this mistake.  But now I am seventeen, and fast outgrowing the forgiveness of youth, so I must tell you that for the years I have left as such, I am a child.  I am naïve.  I am learning. 

          Although learning is not a trait exclusive to childhood. 

          There are six of us in the new Year 12 English Literature class at Aldridge.  Aldridge is a boarding school for girls a little way outside of York.  But do not believe because it is for girls that girls are the only students.  Trans people have a way of hiding. 

          But being yourself has a way of becoming the only option.  This is also why all the trans characters – such as myself – are played by trans actors. 

          This play is about identity. 

          It is not realistic.  There will be music, and our set is made of trunks, and I will occasionally narrate with poetry. 

          There are eleven of us in total.  You will meet the rest as we go through, but our opening sequence should give you a hint as to who we are. 

          The last thing I need to say is a request – please keep an open mind. There will be words you do not know, and love you may not like, but this play is not about you. 

          Or maybe it is…

_[Music – Sand.  Movement.  It is daybreak.  As the movement progresses, the lights slowly fade up as if the sun is rising._

ALICE _slowly awakes and sits up.  Enter_ ESMÉE _as_ J _climes off the trunks. They help_ ALICE _off up and into her wheelchair, clear outer two trunks to back, put the sheets away in one of them, lay the previously piled up trunks in a line.  Exit_ ALICE _,_ ESMÉE _, and_ J _._

 _Enter_ CAOI _SR, moves to CS trunk.  They pause, looking inside.  Enter_ DON _SR with a packet of new men’s shirts._ CAOI _accepts them gratefully.  The two smile at each other.  Beat._ CAOI _packs the shirts,_ DON _moves to exit SR.  Enter_ DAN _, SR, with backpack, camera bag, and piano music._ DAN _hands music to_ DON _, the two share a brief kiss.  Exit_ DON _SR._ CAOI _moves to the back to take another trunk, and_ JACK _pushes open the CS trunk fully (he was in there the whole time), and he steps out of it, looking a little anxious._ DAN _moves to exit SL but diverts, closes_ CAOI’S _trunk and takes it to the back, then exits SL._ CAOI _takes a trunk from the back and drags it across stage, emptying contents across the floor._

 _Exit_ CAOI _SR as_ JACK _begins to hurry around, picking things up and throwing them in the open trunk DSL.  He steps on an open sketchbook, picks it up, looks at it carefully, puts it in the trunk with the rest of his things.  Closes it and adds it as a chair to the table which had been set by other actors – the ‘table’ is covered with an expensive tablecloth, in the centre is a beautiful vase with flowers.  Exit_ JACK _3 rd.  _

_Enter_ CHARLOTTE _SR and_ FINLEY _SL, both with breakfast.  They sit at the table, shooting daggers at each other.  After a few moments both rise, take their trunks to positions near back – putting their breakfast inside their trunks as they do so - and exit.  Enter_ DAN _,_ CAOI _,_ ESMÉE _,_ JACK _and take table apart, set up for airport._

 _They push the trunks around very slowly in a semicircle – one trunk has no one with it.  Enter_ CECI _SL on the phone, holding an American passport.  When she reaches the trunk, she snaps her fingers and points to it, continues her phone conversation, exits SR.  Enter_ DAN _and_ FINLEY _SR, and the six set up the trunks as stairs in_ J’s _house._

 _Enter_ J _SL, she sits on the second stair SL with a notebook and pencil, and writes.  Beat.  She looks up, rises, walks over top of stairs and down other side.  As she descends, the trunks are removed from behind her and placed to back.  Two are set up as a doorway bottom of 3 rd.  Exit _J _SR._

 _Enter_ ESMÉE _SR, a piece of toast in her mouth, pinning her hijab into place.  She pauses just before leaving, placing the final pin as if looking in a mirror by the door.  Exit 3 rd hastily, taking a bite of her toast._

_Lights fully up.  Reset.]_

_  
_

**Act 1, Scene 1**

_[_ ALICE _,_ ESMÉE _,_ CAOILFHIONN _, and_ CHARLOTTE _sit around the common room.  Enter_ J _– she moves to centre and stands on one of the ‘sofa’ trunks.  The students in the common room are frozen,_ J _is holding her notebook and pencil, addressing the audience.]_

J         I love this language of ours  
the way we work our words  
into notebooks, over artwork,  
scrunched up into verse.

          For all stories ever written  
and to be, over time  
are sketched out and made of these words  
all scrawled down into lines.

 _[_ J _closes her notebook and moves to exit.  After a few paces, she stops.]_

Oh, yeah!

 _[_ J _moves back to centre, once more addresses the audience.]_

The common room at Aldridge.  It’s in a rather small old manor house next to the castle that is now the school.  I often wonder what’s happened here, right where I’m standing, hundreds of years ago.  And what’s yet to come. 

 _[Exit J.  The students in the common room unfreeze.  Enter_ CECI _.]_

CECI      Oh my God, have you guys _seen_ the new Lit teacher?

CAOI/AL   Yes. 

LOTTIE    What about him?

CECI      He is so hot.  I mean, like, he’s super young too oh my God.

 _[_ ALICE _starts laughing]_

CAOI      Okay, shut up. 

CECI      Come on, Caoi, even _you_ have to admit he’s hot.

 _[_ ALICE _laughs harder]_

CAOI      I will push you into the lake, Al, I’m not kidding. 

ESMÉE     And let her drown, I suppose?

CAOI      Yes. 

CECI      Well that’s not very nice.

ALICE     Oh, don’t worry – I’ll call Dylan, he’ll save me. 

LOTTIE    Oh yes, he’s on his school swim team isn’t he?

ALICE     He’ll be an Olympic swimmer when he grows up.  He told me just before I left - ‘I’m getting really fast, so if you fall in a river tell me and I’ll swim all the way there and save you.’

ESMÉE     What a good brother. 

ALICE     It’s great having a brother, isn’t it Caoi? 

CAOI      I don’t think Dylan will make it to the lake in time, you know.  The chair’s gotta weigh you down. 

CECI      What has gotten into you? 

ALICE     Caoi was talking to the new teacher this morning, I think some sort of rivalry’s already there. 

CECI      How could you not get on with a face that cute?

CAOI      I’m going to need you to shut up now.    

LOTTIE    He is pretty handsome, Caoi. 

CAOI      I swear to God-

CECI      What?

ALICE     Want me to tell them? 

LOTTIE    Tell us what?   

ALICE     He’s Caoilfhionn’s brother. 

CECI      Oh my God. 

 _[_ ESMÉE _starts laughing]_

CAOI      I will push you in too, don’t test me.

ALICE     Then _you_ could save me!

ESMÉE     Excellent!

 _[All except_ CAOI _laugh, enter_ J _]_

J         Does anyone know what the new Lit teacher’s like?

CAOI      WHY?

J         What did I say?

LOTTIE    Don’t worry about it.  Why, J?

J         I haven’t done the chapter summaries. 

LOTTIE    Oh, J. 

ALICE     Neither have I. 

CAOI      Al!

ALICE     Have you?

CAOI      No, but you knows I read them.

ESMÉE     Will he check?

LOTTIE    Esmée, don’t tell me you haven’t done them.

CAOI      Nah. 

ESMÉE     Très bien!

LOTTIE    Oh, for goodness sake!

CECI      Chill out, Lottie, it’s only homework. 

 _[_ CHARLOTTE _pinches the bridge of her nose, sighing.]_

ALICE     Hang on – are we all doing Lit?

ALL       Yeah/I am/Yep

ALICE     Is this everyone?

LOTTIE    Wasn’t Sofia originally doing it?

CECI      Yeah, but she dropped it.  You’ve got me though!

ALICE     Fab.  Are we all going to Lear?

J         Hell yeah!

CAOI      Don’s taking us, so yeah. 

J         I can’t wait – it’s going to be amazing. 

ESMÉE     I’ve never been to Oxford before.

J         Is this one with Pemberton?

CAOI      Yep.

J         Oh yeah!  Jack’s coming. 

ALICE     Is Finley?

CECI      Yes.

LOTTIE    Unfortunately. 

CECI      Hey, only I’m allowed to be mean to my boyfriend. 

LOTTIE    He is my cousin. 

ALICE     Let’s not have this discussion again? 

ESMÉE     Will the Theatre Studies classes be seeing anything else while we’re down there?

J         Yes!

CAOI      We’re seeing something called ‘Binding’ at the Playhouse. 

_[Bell rings]_

J         Ugh, canteen time. 

LOTTIE    We’re in sixth form now – we can make our own food. 

J         Yeah, but I can’t cook, and I think Esmée will actually kill me if I eat another Pot Noodle in front of her. 

ESMÉE     Well I can cook, so what if instead of either of those we have an English Lit dinner, the six of us?  I have buckets of curry sauce I made with my dad yesterday. 

CECI      Curry?

ESMÉE     I made sure it wasn’t spicy. 

CECI      Oh, then I’m in. 

J         Works for me. 

 _[Music – Metaphor.  Movement – to centre on positive relationships.  The focus should split with the verses; 1 st _J _and_ CAOI _, 2 nd _CECI _and_ FIN _, 3 rd (1st chorus) _DAN _and_ DON _, 4 th _J _and_ JACK _, 5 th _ALICE _and_ ESMÉE _, 6 th (2nd chorus) _LOTTIE _and_ FIN _.  The final repeat of the chorus can be any and all characters.  The movement here is the first real chance to express the different dynamics in each relationship – whilst all the relationships appear happy, all are experiencing some strain.  The movement, however, should focus on the positive aspects, with only the smallest implication of doubt.  Reset can happen during the movement or very quickly at the end of the last chorus, on the outro.]_

**  
**

**Act 1, Scene 2**

_[The Lit classroom.  The trunks are set out in two lines, staggered, all facing the audience.  The sixth trunk (_ ALICE’s _) acts as_ DON’s _desk, placed USC – he talks straight out as if the class is facing him rather than the audience.  The_ ALDRIDGE STUDENTS _except_ J _and_ ALICE _are seated on their trunks, and have copies of_ Frankenstein _, notebooks, pens, etc, all taken from their trunks._ ALICE _sits in her chair,_ J _is not yet in the scene._ DON _stands behind his desk.  Enter_ J _, her books in her arms.]_

J         Mr McGuire’s classroom.  Where we have our Lit classes, and some people have English Language in here too. 

 _[_ J _hurries to her trunk, sits._ DON _speaks as if he’s already been teaching for a while.]_

DON       And you were all lectured yesterday on expectations and all, so you know what I’m going to need from you.  So; unless there are any more questions, I think we should jump right in.  Anyone?

 _[_ ALICE _raises her hand]_

          Yes, Alice?

ALICE     Does Caoilfhionn have to call you Mr McGuire?

DON       I’m going with no, Al.

CAOI      Good, I wasn’t going to.

 _[_ ALICE _raises her hand again]_

DON       Yes, Alice?

ALICE     Do _I_ have to call you Mr McGuire?

DON       I actually don’t care.  Any other questions?

 _[_ ALICE _raises her hand again]_

          About the course.

 _[_ ALICE _lowers her hand]_

          Good.  Right then – let’s talk about Gothic influences.  I’ve put some names and dates on the board, you can use your phones to look things up, feel free to discuss.

CAOI      So, how was Germany, Al?  You vanished so fast on results day, we didn’t get a chance to talk. 

ALICE     Yeah, sorry about that, we had to get home.  It was okay.  Dylan does not get on with mum though, so I was actually looking forward to results day – excuse to get the hell out of there.  How was England?

CAOI      Cruella de Ville dropped by. 

ALICE     God – were you okay?

CAOI      Yeah.  It wasn’t as bad as last time.  Only attacked my identity twice and didn’t threaten to reopen custody at all this time. 

ALICE     You’re almost eighteen, not much point. 

CAOI      Exactly.  She did find my meds in the bathroom and take them though. 

ESMÉE     Why?

CAOI      According to Dolores, depression can only be cured by ‘positive thinking’ and this ‘medicinal devilry’ was ‘keeping me in the wrong mindset’.

ALICE     That’s rich, coming from the epitome of misery. 

CAOI      Don says she was nicer when mam made her my godmother. 

ESMÉE     Have you got new meds now?

CAOI      Yeah – new prescription too.  But never mind that – how was Paris?

ESMÉE     Our old Mosque was burnt down after Charlie Hebdo. 

CAOI      Oh God, Esmée, I’m sorry. 

ESMÉE     It’s okay.  I’m glad to be back.  No matter what my mother says, England is my home.  It has been since I was eight, and that’s not changing any time soon. 

ALICE     I have to say, I’m quite glad about that. 

CAOI      I’m not your girlfriend, but so am I. 

ESMÉE     Thanks guys. 

ALICE     How are the guys?  It’s been a while since the last one fell through, right?

CAOI      Bit shaky, actually. Dan’s still not over it.  I don’t think Don is either, to be honest.  Not that he’d show it, of course.  But he said he’s not going to get his hopes up again. 

ALICE     He said that, really?  Dan can’t have been happy to hear that. 

CAOI      He wasn’t.  He actually left, disappeared for a few hours. 

ESMÉE     Oh gosh. 

CAOI      Don went out after a while and found him in the park.  He was watching this woman and her daughter feeding the ducks. 

ALICE     Is he okay now?

CAOI      He’s in Turkey now.  Documenting the migrant crisis. 

ALICE     At least he has a job he loves.

CAOI      One he’s quit and had to reapply to three times now. 

ESMÉE     That’s got to be rough. 

_[Music – Nearly Curtains]_

DON       That’s it for today guys, thank you!  See you tomorrow!

 _[Movement.  The class pack up, move their trunks to the back, and exit in slow motion.  Enter_ DAN _3 rd at the start of this, moves among them.  As _DON _reaches the back, he touches his arm, and_ DON _joins his reality.  Movement inspired by their love for each other and how much both were affected by the adoptions falling through.  At one point,_ CAOI _walks across the stage with a shawl like a baby bundle, but unrolls it and puts it on as a scarf as she reaches_ DON _and_ DAN _._ DAN _is crushed.  End of movement, both exit in opposite directions, the stage has been reset for the Quiet Corner._ J _starts speaking at 1.12 in the music, over the music/movement.  The poem lasts the remainder of the music.]_

J         Comfort me.   
Tell me how things will be  
once we’re past the  
shrouds of smoke  
and shattered glass  
what will be left for you and me  
in the blackened ash?  
Tell me if we don’t find remains  
we will live with  
all that there is for us now.  
Tell me about how  
if all that we have  
burns to the ground  
we will be more than we were  
when we found each other  
years ago  
when we met and  
I didn’t know love and  
you didn’t know yourself yet.  
We’ve grown since then.  
We’ve shown since then  
we’ve known since then  
we were meant to be.  
That’s all I can see.   
Tell me you agree.   
Comfort me.   
For I’m prepared for a fall.  
I’ll drop until I’m nothing at all- no, no wait.  Umm…

_[Beat]_

Catch me and tell me that we are all  
that there is!  Yes!

 

 

**Act 1, Scene 3**

_[The Quiet Corner – a bookshop/writing/reading space on the top floor of the student café Someplace Else._ J _sits cross-legged on one of the trunks.  On her last line, she leans over the notebook and starts scribbling things down.  Enter_ JACK _SL.]_

JACK      Heya babe. 

J         _[turning in her chair to see_ JACK _]_ Jack!

JACK      What are you writing now?

J         Oh, just a poem, just a poem. 

JACK      Can I see?

J         You got anything for me?

JACK      Well I might do… _[reaches into satchel, produces his sketchbook]_ Got a few things I don’t think you’ve seen.

 _[_ JACK _sits down opposite_ J _, the two swap books.  Pause as they look.]_

Is everything okay?

J         Oh, right.  Well, Caoi’s been having a bit of a rough time.  That one’s kind of from their point of view. 

JACK      Are they coming?

J         Yeah, should be here soon. 

JACK      Ooh, I like this one. 

J         It’s not finished yet. 

JACK      It’ll be beautiful when it is. 

J         Thank you, sweetheart. 

 _[_ J _leans over to give_ JACK _a hug.  Enter_ CAOI _SL.]_

          Caoi!

JACK      _[Turning to see_ CAOI _]_ Heya doll!

CAOI      Hi guys. 

JACK      Oh, I got you something!

J         Which of us?

JACK      Both – you can share, right?

J         Ugh, cheap.  Gimme. 

JACK      You’re so awful to me.  _[He produces a book and hands it to_ CAOI _.]_

CAOI      ‘Cat on a Hot Tin Roof’. 

JACK      You were raving about ‘The Glass Menagerie’ so I thought-

CAOI      It’s fantastic.

JACK      It’s gay!

CAOI      Thank you, Jackie. _[hands book to_ J _, pulls_ JACK _up for a hug.]_

J         Thanks, Jack. 

JACK      Glad you like it. 

CAOI      Right – shall we find somewhere to sit? 

J         Let me just grab my stuff. 

CAOI      Shall I go order?

JACK      Yes.  We’ll find a table downstairs. 

CAOI      Cool.  Teas all round? 

JACK/J    Yep/Yes please!

CAOI      See you in a min.

 _[Exit_ CAOI _SL.]_  

JACK      Come on, J.

J         Yep, coming. 

 _[Exit_ JACK _SL._ J _gathers up her stuff, and just before she follows them out-]_  

J         That was the Quiet Corner – a book shop, library, and frankly great place to write.  It’s just above Someplace Else, which we’ll see in a sec.

JACK      _[O/S]_ J!

 _[_ J _hurries out.  Quick reset to the intro music of Oliver Dalston Browning (repeat as necessary).]_

_  
_

**Act 1, Scene 4**

_[Someplace Else – the local student café.  Everyone has a personal mug, some have food._ ALICE _and_ ESMÉE _sit together, as do_ JACK _,_ J _, and_ CAOI _._ CHARLOTTE _sits alone, surrounded by textbooks, notebooks, coloured highlighters, sticky notes, etc – she’s studying._ CECILIA _and_ FINLEY _also sit together._ J _stands up, addresses the audience.]_

J         Someplace Else!  A student café in the village.  Very reasonably priced food and drinks available, and you can even get a discount for bringing your own mug.

 _[_ J _sits down.  Focus on_ CECI _and_ FIN _.]_

CECI      So?

FIN       So…?

CECI      What did you get me from Venice?

FIN       Oh right, yeah! _[Digs around in bag, produces a velvet jewellery box, places on ‘table’]_ Here you go.

CECI      _[Opening the box]_ Oh Finley!  They’re beautiful!  Help me put them on. 

 _[_ FIN _rises, crosses to other side of the table, takes the necklace from the box, places it around_ CECI’s _neck, plants a kiss to the top of her head.]_

FIN       There you go.

CECI      _[Replacing her earrings with the ones in the box]_ Thank you FinFin. 

FIN       No problem Ceci. _[He sits down]_

CECI      You brought your car, right?

FIN       Oh, yeah.

CECI      Come pick me up tonight?

FIN       Tonight?

CECI      Daddy signed the form.  I’m officially allowed to stay off grounds overnight Fridays and Saturdays.  It’s gonna feel weird not having to sneak out. 

FIN       Yeah, I know.

CECI      Your uncle owns Pemberton, it’s not like you’d have gotten in trouble. 

FIN       And my dad owns Aldridge.  You’d have been fine too. 

CECI      I love the perks of dating you. 

 _[Focus shift –_ ALICE _and_ ESMÉE _]_

ALICE     So how are things now?

ESMÉE     My mum has a friend in India who has a son who would be suitable for me.  He’s coming here for university next year; he will be nineteen, and he will go to Oxford and become a doctor. 

ALICE     Good, stable career.

ESMÉE     Exactly.  Dancing and fanciful stories will get me nowhere, mother says. 

ALICE     And neither will a girl who can’t get herself anywhere. 

ESMÉE     You got yourself to me.  And I can push you when your arms get tired. 

ALICE     I love you.

ESMÉE     I love you too.

ALICE     So what’s his name?

ESMÉE     Ayaaz. 

ALICE     Fun. 

ESMÉE     They won’t force me into it.  I’m to meet him when he comes to stay over the winter break, if we don’t get on, it’ll be forgotten.  So we won’t get on.

ALICE     Won’t they get suspicious that you never get on with suitors? 

ESMÉE     I won’t be a slave to my parents, or my religion.  Either way, nothing will stop us. _[Beat.]_ I’ll tell them.  One day. 

ALICE     When it’s safe. 

ESMÉE     When it’s safe. 

 _[Focus shit –_ J _,_ JACK _, and_ CAOI _]_

J         _[Looking at_ JACK’s _book]_ Is this a photo redraw?

JACK      Let me see? _[Beat.]_ Yes.  From London.

J         We need to go to London together one day.  The three of us.  We’ll go on a miserable day so it won’t be too crowded. 

JACK      I can be all artistic and take photos of the rain. 

J         And we can see a play.  What did you want to see? _[Beat.]_ Caoi?

CAOI      Oh, um, I don’t mind.  Something not too expensive.

JACK      We can cover that. 

CAOI      _[Sotto voce]_ I can’t. 

J         Yeah, don’t worry about it. 

JACK      I’d like to see Curious Incident.  Apparently the guy playing Christopher actually has Asperger’s! 

J         You’d make a good Christopher. 

JACK      Oh thank you darling!  I’d like to be.

_[Music – Teach Me]_

J         I love you. 

JACK      I love you. 

 _[Movement - focus on_ J _,_ JACK _, and_ CAOI _,_ CAOI’s _depression and aromanticism.  Brief touch on_ FIN _and_ CECI _\- the movement should not reflect the problem there, the implication of doubt comes entirely from the music.  Otherwise, it all seems to be a perfect, ridiculous teenage fling.  Finish with_ J _,_ JACK _, and_ CAOI _once more._ CAOI _almost feels excluded, in spite of the fact that_ J _and_ JACK _are involving them in all movement.  Something just doesn’t quite fit.  Reset after 3.45 in music.]_

_  
_

**Act 1, Scene 5**

_[The Aldridge common room.  The_ ALDRIDGE STUDENTS _sit.  The school day has finished, some of them are on their phones, others work, some are eating.]_

LOTTIE    So you and Jack are in a romantic relationship?

J         Yup. 

LOTTIE    Like Alice and Esmée, right?

ALICE     Bingo. 

LOTTIE    But you and Caoilfhionn…

J         Well we’re like friends, but more. 

LOTTIE    More?

J         Yeah.  Like… super friends. 

LOTTIE    You’re losing me. 

J         So like, we do relationshippy stuff, but there are no romantic feelings there.  It’s called a Queer Platonic Partnership, or QPP. 

LOTTIE    Because Caoilfhionn’s aromantic. 

J         Correct. 

LOTTIE    Which means they don’t experience romantic attraction.

J         As opposed to meaning that they smell lovely, yes. 

LOTTIE    And this is the same as Caoilfhionn’s relationship with Jack.

J         Absotively.

CAOI      _[Looking at their phone]_ You have _got_ to be kidding me.

ALICE     What is it, Caoi?

LOTTIE    I’m sorry, I’m trying my best-

CAOI      No, no - they’ve cancelled all the theatre trips. 

J         No!

CAOI      Check your email.  Yes.

CECI      Well that’s crap. 

ALICE     I know!  Why would they do that?

CAOI      Because they don’t give a shit about performing arts.  Or any arts, for that matter. 

LOTTIE    Hang on – does this include Lear?

CAOI      All theatre trips. 

CECI      WHAT?  They expect us to study Shakespeare but won’t let us go see any?  How are we meant to know what’s going on?

LOTTIE    By reading it?

CECI      Ugh.

J         _[Looking at her phone]_ What the hell?  What the hell?  That’s not fair, they have trips for everything else. 

CAOI      Everything else is academic.  We need to do something about this. 

CECI      Oh my God yeah!  We should have a protest or something. 

ALICE     And say what?  Let us go to the theatre?  They wouldn’t take us seriously. 

ESMÉE     So we have to do something they will take seriously. 

LOTTIE    What’s that, Esmée?

ESMÉE     Caoi’s right – we need to do something.  But not a protest. 

CAOI      Like what? 

ESMÉE     Something that will make them give a shit about art. 

CECI      You mean like a showcase?

ESMÉE     Kind of, yeah. 

J         Or an exhibition. 

CAOI      Or a festival. 

ALICE     Yes!  With music and dance and performances!

CAOI      Yeah.  We could do it in summer after exams – over a weekend or something. 

LOTTIE    Okay – I hate to burst your bubble but, this school?  Come on, it took them four years for them to decide to let sixth formers make their own meals if they wanted.  What makes you think they’ll let us have an art festival?  We’d need more authority – a teacher on our side or something. 

 _[Beat._ AL _and_ CAOI _look to each other and grin.]_

AL/CAOI   Don!

CAOI      Let’s go now – come on!

ESMÉE     I’m coming too.

ALICE     Great, you can push me.

CAOI      Come on, let’s go. 

 _[Exit_ CAOI _,_ ALICE _, and_ ESMÉE _.  Pause]_

LOTTIE    I still find it odd they call him Don. 

_[Reset to intro of Small Hands]_

_  
_

**Act 1, Scene 6**

_[_ DON’s _office._ DON _sits at his desk, a pile of work to be marked in front of him, his phone in one hand, a mug of tea in the other.  Beat.  Enter_ CAOI _,_ ALICE _, and_ ESMÉE _._ DON _looks up.]_

DON       You’ve seen the email then?

CAOI      Why are they doing this?

DON       You read the email. 

CAOI      Theatre Studies is one of my studies.  And Alice’s and J’s.  And the two others in our class and the eight in the Pemberton class.  ‘Distraction from out studies’ is not a reason.

DON       I do believe the word ‘academic’ was in there. 

CAOI      Either way, it’s bullshit. 

DON       True as that is, there’s nothing we can do. 

ESMÉE     Actually, umm…

_[Beat.]_

DON       Oh God, you actually have a reason for coming. 

CAOI      Did you think we just came to complain at you?

DON       Well, yes.  And try to find out why they’re doing it. 

CAOI      We know why – they don’t give a shit about art. 

ALICE     That being said, we may have an idea as to how to change their minds.

 _[Music – All Things Must Pass.  Movement.  At first, it’s sparse –_ ALICE _scrawls on a notepad on_ DON’s _desk,_ CAOI _pulls out a few play scripts from a trunk,_ ESMÉE _,_ JACK _, and_ FIN _look through them.  This continues, then all clear except the four originally in the scene.  Lines at 1.00]_

DON       It could work.  I mean, it’s is going to be a tonne of work, and we’ll have to have a solid plan for them to even consider it-

ESMÉE     But it could work?

DON       It could work.

_[Brainstorming and planning the festival takes off.  Any and all characters can be involved, it’s intricate and it’s exciting and it’s full of possibility.  Big sheets or boards come from cases, scattered with ideas/mind maps/timetables/drawings/etc, as well as books/sheets music/plays/paint/notepads/etc.  Reset.]_

_  
_

**Act 1, Scene 7**

_[Someplace Else, around lunchtime on a Saturday.  The_ ALDRIDGE STUDENTS _and_ JACK _sit around three trunks pulled together to make a table._ CAOI _sits pretty much centre, a large board in front of them with a timetable drawn out on it.  They also have an array of pens/sharpies/pencils –_ CAOI _is scribe.  As ideas are thrown around,_ CAOI _writes on the board.  All variously have mugs/glasses/sandwiches/paninis/packets of crisps/etc.]_

ESMÉE     If we’re opening it to the general public we could have a kids’ performance too. 

ALICE     Actually Dylan would love that. 

J         He’s seven, right?

ALICE     Yeah. 

J         So what age bracket we thinking?

LOTTIE    Five to eight seems sensible. 

ALICE     Yeah.  I feel that encompasses a younger audience too.  Three-year-olds will sit through an older kids’ show, seven-year-olds won’t sit through a younger one. 

CAOI      Do you want to put that Saturday afternoon or Sunday?

JACK      Sunday, just before the tea party.  Spread the performances out a bit. 

CECI      Are we doing anything other than stalls Friday night?

CAOI      Creative writing workshop, Gallery, adult show. 

LOTTIE    What if we had a ‘story time’ corner?

ALICE     For the really little ones? 

LOTTIE    Yeah.  At six or something. 

ESMÉE     That’s really nice.  Can we fit it in? 

CAOI      Well, we have creative writing five till seven, so you and J couldn’t do it.  How long are we thinking? 

LOTTIE    It needn’t be more than half an hour. 

CAOI      Who wants to do it? 

JACK      I could. 

CAOI      Al – you wanna help? 

ALICE     I can fit that in. 

CAOI      That means we’re going to have to put someone else on the gallery for the rest of the evening. 

ALICE     I could go back to it after – Charlotte would be alright with it for half an hour, right?

CAOI      No, because you and Jack are going to come help me make sure everything’s sorted for the adult show. 

ALICE     Okay. 

CAOI      Finley will be free. 

LOTTIE    Will he?

CAOI      Yes.  You’re fine working together, right?

LOTTIE    Well _I_ am.  I can’t vouch for him.

 _[Enter_ DON _3 rd]_

DON       Thought I might find you here.  Got the calendar. 

ALICE     How we looking? 

DON       Pretty clear actually _[he passes a diary/planner to_ ALICE _]_.  Everything going alright? 

J         Yep.  We’ve got three main shows down, plus walk-in performances. 

ESMÉE     Do you think we’d be allowed fireworks? 

DON       Honestly, I have no idea how any of this will go down. 

ESMÉE     Put a fireworks display Sunday night. 

DON       Think you guys will have a first draft for Monday?

ALICE     You’ve booked the meeting? 

DON       Period four. 

ALICE     Will we have this done by then?

CAOI      We better.

ESMÉE     I think we can. 

DON       Great.  I have to dash, but will you be here later?  I’d like to talk about organising a meeting with the Pemberton head. 

J         Yeah, we’ll be here.  Finley should be here too. 

DON       Okay, thanks.  See you later!

 _[Exit_ DON _3 rd]_

JACK      A meeting?  Will I have to be there? 

J         It’ll be alright.  We’ll probably be there too. 

JACK      Okay…

 _[Enter_ FIN _3 rd]_

CECI      Baby!

FIN       _[Crossing to the group]_ Hey. 

JACK      Their teacher was just in.  He’s going to organise a meeting – we’ll need to be there-

FIN       It’s alright.  I’ll do all the talking. 

LOTTIE    Surprise, surprise. 

FIN       Ah, cousin, hypocritical as ever I see. 

LOTTIE    At least I say things worth listening to. 

FIN       Worth a psychiatrist listening to, yes. 

CAOI      How about you stop now?

ALICE     You’re going to need to be in the same space without ripping each other’s throats out after five second if the two of you will be working together. 

FIN       We’ll be working together?

CAOI      Yes, on the gallery. 

ESMÉE     And probably some other things, considering the shows. 

LOTTIE    Well I’m perfectly capable of being civil. 

FIN       That’ll be nice to experience.  I’ve never seen her not shooting people down. 

LOTTIE    That is the most idiotic thought you’ve ever expressed.  

FIN       I didn’t ask for an example, but thank you. 

LOTTIE    Arse. 

FIN       Civil as the French revolution. 

CAOI      Guys!

FIN       Alright.  I won’t start anything.  Not that I ever do. 

LOTTIE    What a coincidence – you never stop, either. 

ALICE     Caoi, I think you better find someone else for the gallery. 

LOTTIE    No, no, we’ll be fine, no need to rearrange everything again.  _[Rising]_ I need to go now, anyway – Doctor Sangster wants to talk about orchestra possibilities. 

ALICE     Oh, should I be there too?

LOTTIE    No need; I know what you can do, I’ll update you this evening.  Cousin. 

FIN       Cousin. 

 _[Exit_ CHARLOTTE _3 rd.  Reset to intro to Strawbear.]_

_  
_

**Act 1, Scene 8**

_[The trunks are set out like car seats,_ FIN _sits as the driver,_ CECI _in shotgun.  She slurps a milkshake,_ FIN _is displaying some sort of subtle nervous tick – up to the actor.]_

CECI      God, Lottie was vicious today.  I love it when you take her down. 

FIN       Well, it’s all in jest.  We love each other really. 

CECI      I wouldn’t say that. 

FIN       What do you mean?

CECI      You should hear her in the common room; she’s always slagging you off. 

FIN       Really?

CECI      Oh yeah.  You may love her, but she hates you.  Actually hates you.  _[Beat.]_ Oh baby, don’t look so sad!  She’s not important. You don’t need her.  Not like you need me. 

FIN       I guess you’re right. 

CECI      Of course I’m right.  Would I lie to you? 

FIN       No. 

CECI      No.  That’s why I told you; I’ve gotta be honest with you.  People who love you are honest with you, and tell you what you don’t wanna hear.  I would never keep anything from you. 

FIN       That’s why I can’t trust Jack, right?

CECI      Exactly.  If he was your friend, if he loved you, he would have told you he was autistic. 

FIN       Asperger’s. 

CECI      Whatever.  He still effectively lied to you.  Don’t forget that.

FIN       I won’t. 

CECI      He’s not your friend.  I don’t think you really have any friends.  I’m the only one who loves you enough to be really honest.  You know that, right?  _[Beat.]_   I love you. 

FIN       I love you too. 

CECI      Good. 

 _[_ CECI _shuffles closer to_ FIN _, pulls him to her.]_

FIN       Um, Ceci…

CECI      What? 

FIN       I don’t really want to… tonight. 

CECI      Don’t be ridiculous. 

_[She kisses him, but he pulls away]_

FIN       No, I… I’m not really in the mood.

CECI      You’re a guy, guys always wanna do it. 

FIN       Not always. 

CECI      Yes always.  What, are you gay?  I deal with enough faggots at school. 

FIN       No, Ceci-

CECI      And it’s showing me you love me.  Don’t you love me? 

FIN       Yes, I do-

CECI      Then prove it. 

FIN       But Ce-

CECI      If you don’t you’re a fucking liar, and that means I can’t trust you. 

FIN       You can trust me, Ce. 

CECI      Can I?

FIN       Yes, I love you. 

_[Music – Sweetheart, What Have You Done To Us]_

I want to prove it. 

 _[_ CECI _smiles.  Movement.  It begins with a kiss, starts slow and soft, but then continues into movement and becomes a veritable roller-coaster._ FIN _tries to keep_ CECI _happy, but she is manipulative and changeable, and it leaves_ FIN _unhappy and trapped._ CECI _however, convinces him that he’s happy.  He believes her.  Reset.]_

_  
_

**Act 1, Scene 9**

_[_ DON’s _office._ ALICE _,_ ESMÉE _,_ CAOI _,_ J _, and_ DON _are standing.  They have various boards, planners, etc.]_

DON       We’ve got the signatures? 

J         Yes, Don. 

DON       And you checked the copyright issues. 

ALICE     Double and triple checked. 

DON       You’re sure about the adult show? 

ESMÉE     Everyone involved is already over 16.  And it won’t be _that_ adult – just not so suitable for kids. 

CAOI      Don, you don’t need to be this worried. 

DON       I know, it just… matters.  To all of us. 

ALICE     Well let’s go make it matter to them too. 

DON       _[Checking his watch]_ Five minutes.  Let’s go. 

_[Music – Judging Books By Their Covers (backing only).  This plays throughout the beginning of the next scene also.  Reset.]_

_  
_

**Act 1, Scene 10**

_[Someplace Else.  All except_ DAN _and_ J _sit around the large table with mugs, etc._ J _stands centre with book and pencil.  All except_ J _freeze.]_

J         There’s this beautiful thing that happens  
when mind joins mind  
when art joins art  
when love joins love.   
You find this beautiful smile that’s passed  
from face to face to face  
like sun and sky at last  
have found heaven on earth  
in this wretched place.

Ideas are such beautiful things.   
We hold them like smoke  
and pass them like water  
and share them like love.   
Humans can be such selfless creatures.   
Ideas will not choke.   
They will not falter.  
They will not spill blood.   
And so it is ideas we share  
when there is nothing else.  
Nothing else is needed. 

Imagine – a selfless creature.  That would be art.   

 _[_ J _contemplates a moment, then joins the group as they unfreeze.  Celebration is in the air.]_

DON       So all we need is the tick from your head and we’re off. 

LOTTIE    I still can’t believe they said yes. 

J         We’ll be performing to everyone in the school. 

ALICE     And their parents. 

CAOI      Will Dan come? 

DON       I hope so. 

ESMÉE     My parents are going to _see_ my dancing!

ALICE     And one of your plays. 

ESMÉE     Oh no.  No way I’ll let them see the adult show. 

ALICE     Maybe then it won’t seem so fanciful. 

ESMÉE     No – it’ll seem Haram. 

JACK      I’ve never put my art on display before. 

J         What a treat for the world. 

CAOI      And Don’ll play the piano. 

ESMÉE     Really?

DON       Caoilfhionn!

ALICE     You won’t?

DON       I don’t know, Al. 

ALICE     Duets aren’t duets when you do them on your own. 

DON       Good point.  We’ll see. 

_[Reset to intro of 10am Gare du Nord.]_

 

 

**Act 1, Scene 11**

_[The Lit Classroom.  The_ ALDRIDGE STUDENTS _are sitting as the previous classroom scene,_ DON _standing in his place.  It’s a few weeks after the pitch was successful, everyone’s quite happy working.  Classroom buzz for a few moments, then focus onto_ J _,_ LOTTIE _, and_ CECI _.]_

J         So Jack’s basically left with Caoi, me, and like two other boys from his classes.  He just can’t think what happened. 

LOTTIE    How long’s it been like this? 

J         Since the end of last term.  Jack said over summer he thought maybe some time away might help Fin at least get to the point to talk about it.  No such luck. 

LOTTIE    Finley’s been acting odd with me lately, actually. 

J         Odd?  Like how? 

LOTTIE    As with Jack.  He’s just… stopped talking to me, stopped responding to my texts – it’s all just the bare minimum conversation.  It’s a little sad, actually.  Being an only child, he was… well, we’re close enough to be siblings.  Or we were. 

J         Ceci, you see the guy a lot – do you know why Finley does this?

CECI      Nope.  He doesn’t really talk to me about this sort of stuff. 

 _[Beat._ J _looks up, properly focusing on_ CECI _.  Something isn’t right, but she can’t quite lay her finger on it._ LOTTIE _has got back to her work,_ CECI _does the same.  Beat._ J _goes back to writing.  Focus shift –_ CAOI _,_ ESMÉE _, and_ ALICE _.]_

ALICE     How’s the play coming along?

ESMÉE     Just broke 5,000 words.  So not actually that much, but I’m happy with what I’ve got. 

ALICE     That’s fantastic! 

ESMÉE     Thanks, Jaanu. 

CAOI      When are you going to show us any of it? 

ESMÉE     I don’t know.  It’s… personal. 

CAOI      Well it’ll be performed in front of a bunch of people, so hopefully not too personal. 

ALICE     Do artists do anything that’s not personal? 

CAOI      Fair.

ALICE     What about the dance? 

ESMÉE     Also personal. 

CAOI      Careful – your parents are gonna see that one. 

ESMÉE     Well, I think it’s about time they see me. 

 _[A phone rings,_ DON _looks up suddenly from his copy of_ Frankenstein _.]_

DON       Oh God, that’s me, sorry.  _[He takes his phone out of his bag, hesitates.]_ I’m really sorry, I need to take this.  Umm - carry on.  _[He crosses to DSL and picks up, enter_ DAN _3 rd.  The _ALDRIDGE STUDENTS _continue silently.]_ Hi. 

DAN       Hi. 

DON       What’s up?  Not that I’m not pleased to hear from you, but we’re normally doing this at some stupid hour at night.

DAN       I know, I know – I’m sorry about that. 

DON       Don’t be.  It’s what we get for taking such stupid jobs.  Stupid jobs that have us so far apart all the time. 

DAN       Donny. 

DON       Right.  Yes?    

DAN       I have some possible news. 

DON       Possible news?

_[Beat.]_

DAN       There’s a girl here, Donny.  Her parents died in the crossing, and she has no one else.  She’s being passed from person to person, she’s scared and alone and she’s getting sick, Donny-

DON       Dan.

DAN       She needs someone.  Stability. 

DON       How old is she? 

DAN       Two.  _[Beat.]_ Her name is Basilah. 

DON       Basilah.

DAN       It means brave. 

_[Beat.]_

DON       You’d have to quit again. 

DAN       I know.  We’ve done this too many times.

DON       Exactly.  You love your job, it helped you get back on your feet after last time-

DAN       I’d love a kid more.  And who says it’s going to be another last time?  There’s no mother to pull out this time. 

DON       I just don’t want you to get so hurt again-

DAN       Do you even want this?

DON       Danny… _[Pause.  They have come towards each other a little during the conversation, and look at each other now.]_ You know I do. 

DAN       She needs us. 

DON       We need her. 

DAN       _[Just a breath]_ Yeah. 

_[Pause.]_

DON       Okay. 

DAN       Okay?

DON       Okay.  _[Pause.  They reach their palms to each other, not quite touching.  Sudden break.]_   Look, I’m in class right now-

DAN       Right, yeah, course. 

DON       Danny?

DAN       Yeah?

DON       We can do this. 

DAN       I love you. 

DON       I love you.  Call me later, okay? 

DAN       Will do.  Bye.

 _[_ DON _hangs up the phone, crosses back to USC, exit_ DAN _3 rd.]_

DON       Sorry about that.  So, J, thoughts on question three? 

 _[Focus to_ ALICE _,_ CAOI _, and_ ESMÉE _.]_

ALICE     What do you suppose that was about? 

CAOI      I have an idea.  I’ll ask him later. 

ESMÉE     Is it to do with you?

CAOI      If it’s what I think it is then it will definitely affect me, yeah. 

ALICE     You think it was Daniel?

CAOI      Why else would he take it? 

ESMÉE     Why would Daniel call now? 

 _[Music – If I Don’t Have To.  Movement.  As_ J _speaks over the introduction, the stage is cleared by all except_ J _, and_ DON _and_ DAN _, who move towards each other slowly.]_

J         There’s a feeling that you get, one that shifts beneath your skin, like your whole body is taking a deep breath.  Waiting.  The wind starts to change – something has to happen.  Like when you close your windows and look up to the sky, because you just know there’s going to be a storm. 

 _[After she has spoken,_ J _moves to the back, sits on the centre trunk and writes in her notebook.  The first section is solely_ DON _and_ DAN _, expressive of their love and mutual need for support.  Enter_ CAOI _\- she’s just left her godparent’s, she needs them, and they’re still recovering after losing a child._ J _speaks over the instrumental, standing on the trunk.]_

Or maybe the rain’s already beating down hard and everything’s soaking and ruined and you need someone to help you get dry. 

 _[Exit_ J _quickly.  The rest of the piece gets more erratic and heavy as the piece goes on, up until after the final instrumental, when everything becomes focused once more.  But the smaller it gets, the more every movement counts._ CAOI _leaves just after ‘I did it all for you’, leaving_ DON _and_ DAN _alone for ‘and I’ll love you if I don’t have to’.  The music finishes,_ DON _and_ DAN _exit.]_

_  
_

**Act 1, Scene 11**

_[Outside in the village, by a bus stop._ ALICE _,_ ESMÉE _,_ CAOI _,_ J _, and_ JACK _are waiting._ ALICE _,_ ESMÉE _, and_ JACK _have packed trunks, which they took from the back as they entered.  It is winter – the group are dressed for it – and there is an air of leaving.]_

ALICE     I’ll miss you. 

ESMÉE     I’ll miss you too, Jaanu.  But it’s only two weeks, and I’ll text you every day.

ALICE     You better. 

J         I know we did this last year, but it’s still going to be weird. 

JACK      It is the time of year when I’m actually allowed in your building though, so I’ll keep coming over.  And mama insists that you come over sometime too. 

J         Can’t wait. 

CAOI      What time should your dad get here, Al? 

ALICE     Two. 

ESMÉE     Our bus’ll be here any minute. 

J         You look after him on the ride alright? 

JACK      I live an hour away, J, stop worrying. 

J         You don’t like busses. 

JACK      I’ll be fine.  Will you two be okay?

J         You kidding?  There will be five of us in the entire manor.  We’ll be fab. 

ALICE     And I heard Don say Dan might be able to come back for Christmas day. 

CAOI      Maybe.  Depends.

J         Either way, we’ll be fine. 

CAOI      And we’ll keep planning.  What with ASs and all, we don’t actually have that much time to sort out this festival. 

ALICE     Keep us updated though yeah?  I’m sure I’ll get a thousand emails a day from Lottie with scores for the orchestra’s bits.

CAOI      No problem, Al. 

J         _[Looking off left]_ There it is! 

 _[Rush of goodbyes – hugs and kisses exchanged all round.  The lights go down, there is the noise of a bus, then of cars, then trains, and the stage is cleared and the sounds fade out to leave_ J _centre and_ CAOI _DSL, facing up to 3 rd, looking rather bleak.  Silence.]_

J         The days were getting darker.  
You could feel it in your skin.  
The clouds were getting heavier.   
The light could not get in.   
The crowds had all deserted.  
We were encased in frost.  
But we knew not what was  
To be found, and to be lost. 

 _[Music – Charon.  Movement.  The lines should not overlap any lyrics, and spoken between the lyrics as written.  At the beginning, characters leave after saying their lines, but the stage gets busier as the piece progresses, trunks are constantly being moved as well as people, forming physical blockades or passages._ CAOI _is the only one who does not say anything, but they remain on stage, slowly walking between the others, who are moving at a faster pace and will do lifts/round-by-throughs/etc.]_

ALICE     How’re things going? 

ESMÉE     Alright.  Ayaaz is arriving today. 

ALICE     Is it going to be okay?

ESMÉE     Yes.  Apparently he’s perfectly understanding, so he should be able to take the hint that I’m not interested. And then he can-

DON       Fly home?

DAN       Still unsure.  I hope so, darling.  But with the baby, it’s tricky.

DON       I know, sweetheart.  It’s okay.  I just miss you.

DAN       I miss you too.  How’s the planning going?

J         We’ve managed to secure tents. 

JACK      That’s amazing J!

J         And it’s a retailer in York, so we should be able to meet up-

FIN       But it can only be the one night.  Is that okay?

_‘And it seems as though’_

CECI      Better than no nights. 

_‘I am on my own_

_And time transcends_

_Oh’_

ESMÉE     Dylan okay?

ALICE     He’s perfect. 

_‘And it seems I speak’_

Perfect as any little brother can be.

_‘Like waters leak_

_And I’m losing friends_

_Oh’_

LOTTIE    Finley’s still not speaking to me.  Do you know why?

CECI      Not a clue.

_‘Oh_

_And there’ll be coins on my eyes’_

DAN       She’s beautiful, Donny.

_‘And there’ll be coins on my eyes_

_To pay Charon’_

DON       I can’t wait to see her.

_‘Before I let you near my son.’_

_[_ CAOILFHIONN _has made it to the top of the 3 rd exit.  They see a trunk centre stage, which will now not be moved or even touched, and they begin to walk towards it.  People/things should not hinder them, but they should move slowly.]_

J         Can’t wait to see you Saturday. 

JACK      Yes!  How’s Caoilfhionn, really?  They keep saying they’re fine. 

J         Not the best.  But we’re getting through.  And they miss you. 

JACK      Well let’s arrange a get together then. 

J         Good. 

ALICE     And how is Ayaaz?

_‘And I don’t feel well’_

ESMÉE     He’s perfect.

_‘Oh could you tell_

_From the way I touch my face?’_

ALICE     Perfect?

ESMÉE     I haven’t a reason to dislike him.

_‘And my thoughts are low’_

ALICE     What does this mean?

_‘And I cannot grow_

_In this small space_

_Oh’_

JACK      So Wednesday okay with both of you? 

J         Good with me. 

JACK      Caoi? 

_‘Oh’_

_[_ CAOI _has reached the trunk by this point, and kneels down to produce a bottle of bleach from it.  Over the next lines, they stand on the trunk, and unscrew the lid.]_

          Caoi?

_‘And there’ll be coins on my eyes.’_

ESMÉE     I don’t know.

_‘And there’ll be coins on my eyes.’_

J         Caoi?

_‘To pay Charon_

_Before I let you near my son’_

_[_ DON _has entered 3 rd, and sees _CAOI _]_

DON       Oh God. 

DAN       What?  Donny?

 _[_ DON _drops his phone, and makes for_ CAOI _, but people/trunks get in the way, slowing him.]_

Donny, you there?

_‘And I ain’t no’_

JACK      Caoilfhionn?

_‘And I ain’t no’_

J         Caoilfhionn?

_‘And I ain’t no Hercules’_

DON       CAOILFHIONN

 _[The stage suddenly clears, except for_ CAOI _,_ DON _,_ J _, and_ JACK _, who are SR and SL respectively._ CAOILFHIONN _drinks from the bottle, drops it, and passes out into_ DON’s _arms.]_

_‘And I ain’t no Hercules_

_And I ain’t no Hercules_

_I ain’t no Hercules.’_

_[_ DON _takes_ CAOI _hurridly off 3 rd, followed by _J _and_ JACK _.  Music end, lights fade to black.]_

**End of Act 1**

**  
**

**Act 2, Scene 1**

_[_ J _and_ JACK _sit in the waiting room of the hospital._ JACK _is uneasy, shifting, glancing around,_ J _writes in her notebook.]_

JACK      What’re you doing? 

J         Writing. 

_[Beat.]_

JACK      What’re you writing?

J         Poem. 

JACK      Now? 

J         Yes, now.  What else do you suggest? 

JACK      I don’t know.  _[Beat.]_ We could talk. 

J         Talk? 

JACK      Yeah.  About this.  It- it might be helpful. 

J         Alright.  Alright, let’s talk about this.  Let’s talk about how our partner was so desperately unhappy that they tried to kill themselves less than two hours ago.  Let’s talk about how we were too busy getting coffee to text them while they were stuck in that damn manor house alone.  About how I saw they were bad but left anyway, how if Don hadn’t seen them, they’d be gone, about how they’re lying in there with bleach burns down their throat and more of drugs than blood in their veins whilst doctors refer to them as ‘she’.  Let’s talk about how we made them feel like they couldn’t talk to us.  Caoilfhionn could talk to _us_.  And from now on, whenever they say they’re fine, we can’t believe them.  We will never be sure they won’t hurt like this again, and we are helpless to stop it, we are useless, how can saying any of this be helpful? 

JACK      No.  It’s not. 

 _[_ JACK _turns and stares out ahead._ J _gets back to writing.  Reset to intro of About Sophie.]_

_  
_

**Act 2, Scene 2**

_[_ ALICE _sits in the common room with_ J _._ J _has her notebook hugged to her chest, both are looking despondent.  It has been a few days since the hospital – long enough for_ ALICE _to get back to Aldridge and unpack, but not long enough for a scab to have formed over the wounds of this whole thing, for_ J _particularly.]_

ALICE     So they’re not even letting Don see them? 

J         Not a soul. 

ALICE     Why? 

J         They can’t risk someone provoking something?  I don’t know. 

ALICE     One hell of a Christmas. 

J         _[Rising]_ I’m going to make some tea.  Want anything? 

ALICE     Tea would be great, thanks. 

 _[Exit_ J _.  Beat.  Enter_ ESMÉE _with her trunk.]_

ESMÉE     Alice? 

ALICE     Oh my God, Esmée. 

 _[_ ESMÉE _drops her trunk and rushes to_ ALICE _]_

ESMÉE     Jaanu, what are you doing here? 

ALICE     To see Caoilfhionn, didn’t you get my message? 

ESMÉE     No – my mum took my phone.  Are they alright? 

ALICE     No.  No, they’re in hospital. 

ESMÉE     Oh no.  Why?  They didn’t…

ALICE     _[Nods.]_ But they’re okay now.  Physically. 

ESMÉE     Mentally? 

ALICE     God knows. 

ESMÉE     Well, physically is something. 

ALICE     Hang on – if you didn’t know, why are you here? 

_[Silence]_

     Esmée? 

 _[Another silence.  Music – Flesh and Bone._ ESMÉE _is struggling – she wants to tell_ ALICE _, but there are no words._ ALICE _looks to_ ESMÉE’S _trunk, and words are unnecessary anyway._ ESMÉE _sees the reality of the situation crashing down around_ ALICE _as the audience does, but she feels somehow responsible.  Again, she tries to explain, at least a little.]_

ESMÉE     I- I… she… I couldn’t go to India.  Not when you’re here. 

ALICE     Hey, hey, it’s okay. 

ESMÉE     No.  It’s not. 

 _[Pause._ ALICE _pulls_ ESMÉE _into her arms.]_

ALICE     It will be. 

 _[Movement, hurt/comfort between_ ALICE _and_ ESMÉE _, also between_ J _and_ JACK _, and_ DAN _and_ DON _.  At a break in the music, the following dialogue takes place.  Movement can continue –_ DAN _and_ DON _are not having this discussion face-to-face.]_

DON       This is just unfair.  Totally, utterly unfair. 

DAN       I know, Donny-

DON       No, you don’t.  I don’t even know.  All that kid has ever known is loss.  Dad lost his sight, and then he lost his hearing, and then he lost mam, then he lost himself.  Caoilfhionn was eleven.  Eleven, and I was the only family left to them, and what did I do?  I left.  Left her with that cow who hated everything Caoi is.  And it took four years before I had the bloody sense to get them to come live with us. 

DAN       This is not your fault. 

DON       Yes, it is.  Because life has been shit for them for-fucking-ever, and I have done the bare minimum.  And now this.  It’s unfair.  Life is nothing but unfair.  And I didn’t do enough to make it better. 

_[Movement continues.  Reset.]_

_  
_

**Act 2, Scene 3**

_[The Quiet Corner, afternoon on New Year’s Day.  On one table sits_ ESMÉE _, writing in a notebook._ J _sits alone, her notebook on the table, but she’s staring at another notebook, a pen clutched between her fingers.  She does not write.  She goes to, a few times, but cannot.  Around her are folders marked ‘Festival’, a few also tagged ‘Food’, ‘Music’, etc.  Her laptop is open.  After a pause, she clicks the pen, drops it on the notebook, and starts typing.  Enter_ JACK _.]_

JACK      Hey. 

J         _[Glancing up to him]_ Hey. 

JACK      How you holding up? 

J         Been better. 

JACK      Right.  _[Beat.]_ You’ve been here all day. 

 _[_ J _does not reply, simply continues typing.]_

          Come get some food, J.  Please. 

J         I’m working. 

JACK      That can wait. 

J         No, it can’t.  Caoi gets back today, and they’d hate it if everything had stopped because of them – we need to have made progress.

JACK      Okay.  Let’s make progress then. 

 _[_ JACK _walks over and sits down next to_ J _, who stops and looks at him._ JACK _picks up a folder and grabs a pen.]_

J         Thank you. 

 _[_ JACK _smiles.  They get to work._ J _starts typing again,_ JACK _looks around for another folder or something, and notices_ J’s _book.  He picks it up.]_

JACK      When did you do this? 

J         This morning, just before bed. 

JACK      ‘I Am a Poet So Happy New Year’

_[Beat]_

Welcome to the New Year  
It does not-

JACK/J    know you yet.  
I feel it wants-

J         to smile for you  
so do try to forget

fears you’ll hold tomorrow  
as the dawn is not yet come  
for the date is not set until  
you wake, and turn, and hum

          and stretch your weary arms  
into January First.   
This is where the New Year wakes and  
stretches into my verse. 

          I’ll clean this up tomorrow.   
For now though, I must rest,  
as one more year has welcomed my  
and I wish it my best. 

 _[As_ J _begins to read alone, she stands and moves to centre.  The reset happens behind her, without music.]_

_  
_

**Act 2, Scene 4**

_[The dorm.  Three beds, two messily made and with trunks at the ends, the centre one very neat._ ALICE _sits by her (the SR badly made) bed._ J _is still onstage.]_

J         The sixth form dorms.  They only ever make your beds for you when you’ve gone home. 

 _[Exit_ J _.  Music – F.R.I.E.N.D.S.  After a rest,_ ALICE _wheels over to the trunk at the end of her bed, and goes to open it.  She stops – on the line ‘and what you’ve managed’ – wheels back, takes up a water bottle, drinks, puts it back.  She wheels to_ CAOI’S _bed, pauses, wheels to her trunk, stops.  She wheels back to her original spot.  She breaths deeply, pulls out a bottle of pills.  She takes two, has them with the water, pockets the pills again.  Then she takes a letter out from her pillow, turns it over.  It reads ‘Alice’ in neat writing.  She does not open it, but it is clear she has read it.  She wheels back to her trunk, opens it, and takes another letter from it.  This one reads ‘Caoifhionn’ in different writing._ ALICE _puts the first letter in her trunk, and closes the trunk.  She wheels over to the 2 nd bed, and places the letter under the pillow.  Enter _CAOI _SL with the sixth trunk – on the line ‘In the company of you’, 1 st time.  Movement.  Exit _ALICE _SL –_ CAOI _sits on their bed.  Beat.  They see the letter sticking out from under the pillow, take it, open it, and begin to read.  Pause.  Enter_ DON _.]_

CAOI      You’re not supposed to be in here. 

DON       You gonna tell me off for it?

CAOI      No. 

DON       Then I think I’m good.  _[Beat.]_ Do you want me to leave? 

CAOI      I don’t know. 

DON       Well, I’d like to stay. 

_[Pause.]_

CAOI/DON  I’m sorry. 

CAOI      You didn’t do anything wrong. 

DON       Nor did you. 

CAOI      Yes, I did, I hurt you. 

DON       You were hurting and I didn’t do enough. 

CAOI      You saved my life.  I know that might not mean as much as it would coming from someone else, but… I’m grateful. 

DON       I’m glad to hear it. 

CAOI      Did you think I wouldn’t be?  _[Pause.]_ I know how it must look.  But I am. 

DON       Good. 

CAOI      After all, the Festival may well fall apart without me. 

DON       That is a possibility.  Someone put Finley in charge of the timetable – bad move.  You’d think with all that cash he could afford better handwriting; the orchestra slot has gone to ‘orc has bra’. 

CAOI      Someone ought to warn Lottie. 

_[Pause.  They are smiling.]_

Thank you. 

DON       Thank you. 

CAOI      For what? 

DON       Surviving. 

_[Pause.]_

CAOI      I love you, Donny. 

DON       I love you too, Caoi. 

 _[The two hug.  They do not do this, really, and the moment rings true.  They are alive, their family has not broken into anymore pieces.  That’s what’s important.  When they break, they are smiling as softly as it’s possible to smile.  Both exit.  Music – Petrichor.  Enter_ J _.  As she speaks the world revolves around her, settling briefly in scenes._ J _can interact with each setting if she wishes, but she doesn’t have to.  She does not leave the stage until the end of the transition.]_

J         The days slowly passed  
as days tend to do  
the winter melted softly  
into Spring.   
The sun learnt to smile again  
and bleating lambs all found their friends  
and the birds drew in their breath to start to sing. 

 _[Someplace Else_ ]

ALICE     How’s it going, Lottie? 

LOTTIE    I have seven minutes of full orchestral music. 

ALICE     How’s the cello part? 

LOTTIE    Perfect for you.  Hopefully.

ALICE     That’s what I like to hear. 

J         The light stretches for longer hours  
and wakes before we’re used to now  
infectious brightness  
like a virus  
that kills the darker days

_[The Quiet Corner]_

CAOI      Jack!

JACK      Caoilfhionn!  How are you this fine day? 

CAOI      I’m good.  Actually good. 

JACK      That’s always brilliant.  _[Beat.]_ Oh, yeah – I did this.  For you. 

 _[_ JACK _pulls out his sketchbook and removes a sheet of paper, handing it to_ CAOI _.]_

CAOI      Oh, Jack. 

JACK      I let Alice borrow my camera a while ago, I was just looking through it and that was there.  So I drew it. 

CAOI      That’s stunning.  Thank you.

JACK      You really like it? 

CAOI      I love it. 

 _[_ J _, who had been reading from her notebook, puts it down on a table during the conversation.  As the scene resets, the book is taken with it.]_

J         I like the way the spring feels  
soft against my skin.   
I like the way the summer sits  
and waits to be let in  
from standing in the rain  
that’s falling like starlight  
on a clear cloudless night  
away from the brightness  
and bustle of life. 

 _[Outside somewhere on the school grounds._ DON _,_ ALICE _,_ ESMÉE _, and_ DAN _are all a part of the scene, though only_ DON _and_ ALICE _interact within it._ ALICE _sits under some sort of unseen cover, perhaps an awning or balcony._ DON _stands out in the rain, holding an umbrella._ DAN _pours water from a watering can over the umbrella, and_ ESMÉE _catches the water in another umbrella._ DON _is not facing_ ALICE _, but she watches him.  Pause.]_

DON       It hasn’t rained for three weeks in Turkey.  _[Beat.]_ Hasn’t stopped raining for three weeks here. 

ALICE     It’ll be summer soon enough. 

DON       It rained on our wedding day.

_[Beat.]_

ALICE     I remember. 

_[Pause.]_

DON       Do you think he misses rain? 

ALICE     Yes. 

J         But life goes on  
and life goes on  
as if it knows what it’s doing  
and why.   
As if the sun wants  
us all to try.  
As if the wind wants  
us all to fly.   
I can feel the universe  
falling into place.  
I can feel the universe  
shining on my face.   
I can feel the universe. 

 

 

**Act 2, Scene 5**

_[Someplace Else._ FIN _sits alone at a table at one side of the room, a mug and a panini in front of him, as well as some notebooks.  One of them is a book we have seen_ ESMÉE _writing in.  Enter_ JACK _,_ J _, and_ LOTTIE _, mid-conversation.]_

LOTTIE    So you’re all non-binary? 

JACK      Yeah.  I’m a demi-boy.  So like… I’m not a boy, but I kinda identify with the male side of the spectrum. 

LOTTIE    How does that work? 

JACK      Well… let’s say girls are strawberry milkshake, and boys are chocolate.  I’m a vanilla milkshake with chocolate sprinkles.

J         And I’m genderfluid, so sometimes I’m strawberry, sometimes I’m chocolate, and I can be vanilla.  With or without sprinkles. 

LOTTIE    I see.  But if Caoilfhionn’s agender, what does that mean? 

J         They’re orange juice. 

JACK      Oh hey, Fin!  You haven’t seen J’s book around, have you? 

FIN       No. 

JACK      Okay, never mind.  Thanks. 

LOTTIE    I’ll catch up with you upstairs, I need to talk to Fin. 

J         Cool beans. 

 _[Exit_ J _and_ JACK _SR._ LOTTIE _approaches_ FIN _.]_

          You’re doing festival stuff, right?

 _[_ FIN _does not reply.]_

Well, we’ve just finished an orchestra rehearsal.  Our slot should be eight minutes.  _[Pause.]_ Is that okay?  _[Pause.]_ Finley? 

FIN       Yes, fine. 

_[Beat.]_

LOTTIE    I don’t know what it is I did, or said, or whatever to make you _this_ mad at me, but I’m sorry, alright?  Look, we’re going have to collaborate, so it would help if we could talk about this.  _[Pause.]_ Alright.  Just think about it, okay? 

 _[Pause.  Exit_ CHARLOTTE _SL, enter_ CECI _.  She goes to_ FIN _.]_

CECI      Heya baby. 

FIN       Hi Ce. 

CECI      Was Charlotte talking to you just then? 

FIN       Yeah.  About the festival.

CECI      Oh.

FIN       But I didn’t talk to her. 

CECI      Oh, good.  So – whatcha doing? 

FIN       Reading Esmée’s play.  She asked me to take a look. 

CECI      Any good? 

FIN       It’s really good, actually. 

CECI      Huh.  Well, you can blow this off now – let’s take a walk. 

FIN       I’d love to, princess, but I told her I’d do this.  _[Beat.]_ And there’s other festival work as well. 

CECI      Do you like Esmée, FinFin? 

FIN       Yeah, she’s nice. 

CECI      Did she tell you she’s gay? 

FIN       I worked that out, actually, I have seen her with Alice. 

CECI      Did she tell you her parents disowned her over Christmas? 

FIN       Oh God.  No. 

CECI      Huh.  Never mind then. 

FIN       It’s okay.  I didn’t really think of her as a friend, anyway. 

CECI      Good.  Now – it’s spring and we’re stuck inside.  Drop this now? 

FIN       Okay, but just for a bit.  I do need to finish this. 

CECI      Good.  Buy me flowers. 

FIN       Okay. 

_[Reset to intro of If I’m to Die.]_

 

 

**Act 2, Scene 6**

_[A sparse room, empty of people except for_ DAN _.  He sits on the floor, his camera resting on a trunk, and he’s surrounded National Geographic magazines and camera cases.  Also on the case is a small pink dress._ DAN _has his phone out.  Music fade out.  Pause as he taps at it, then holds it to his ear.]_

DAN       Hi.  _[Beat, he laughs a little.]_ Hi.  Hi.  It’s good to hear your voice.  I know, I know, it’s been-  Every time I try to call the signal cuts out or I’m yelled at to get out of the way or my bloody phone dies.  Yeah.  _[Beat.]_ Anyway, how are you, my darling?  _[Pause.]_ I miss you too.  _[Beat.]_ Fine, yeah.  No news.  No.  I’ll let you know as soon as I hear a whisper of something official.  Although I did get her the cutest little dress – I’ll send you a picture.  _[Beat.]_ I have a good feeling about this one, Donny.  Come on.  _[Beat.]_ Yeah, I know.  _[Beat.]_ I’ll be okay.  I promise.  _[Beat.]_ Yes.  _[Beat.]_   Quarter past ten.  _[Beat.]_ No, no, I’m going out again actually.  You should see the camp at night.  All the tents are white, so they glow with the light.  And when it gets really late, when everyone’s asleep and only a few tents are lit up… it looks like the sky.  All these pools of light like stars.  You can almost forget that no one wants to be here, it’s that peaceful.

DON       Do you want to be there?

 _[_ DON _entered quietly 3 rd during the final sentences of _DAN’S _side of the conversation, and is standing still at the very top of the stairs, looking down.  He’s in comfortable clothes – it’s a weekend.  He could have a mug of tea or hot chocolate._ DAN _starts to collect up the scattered things and put them in the trunk.]_

DAN       No. 

DON       I thought you loved your work. 

DAN       I do.  But I’m sick of being so far away. 

DON       So am I.  Why did you take that stupid job? 

DAN       Because I love it. 

DON       More than me? 

DAN       I don’t think I could ever love anything that much. 

 _[_ DON _walks down the stairs a little, and sits.  He does not look at_ DAN _._ DAN _stands, looking over to the 3 rd exit, but he does not look at _DON _.  The two laugh a little.]_

          How’s the piano? 

DON       Still makes a noise when I press the keys. 

DAN       Hey, my laptop does that!

DON       Ah, well it ought to – it has been fine-tuned.

DAN       I want a divorce.

DON       What about our daughter? 

DAN       I’ll stay with her here in Turkey.  She will learn how to compose the best shots and understand shutter speed by the time she’s six.

DON       I’m twenty-six and I don’t understand shutter speed.

DAN       I’ll have to come back there and explain it to you then. 

DON       If we’re divorcing I shan’t wish to speak to you. 

DAN       Oh no we’ll just have to stay married. 

DON       Bring that daughter back when you come. 

DAN       I will. 

DON       I hope you know that she isn’t going to be a photographer.

DAN       Why not? 

DON       She’s going to be a pianist. 

DAN       Oh that’s better.  Did I ever tell you I feel in love with you playing Chopin?

DON       No, you didn’t.

DAN       Well I did. 

DON       I don’t play much Chopin… when was that? 

DAN       That concert at Oxford. 

DON       We’d only met the week before. 

DAN       I know. 

_[Pause.]_

DON       I miss you.

DAN       You’ve said that. 

DON       I love you. 

DAN       You’ve said that, too. 

DON       I’ll say them as long as they’re true. 

DAN       You better say them forever then. 

DON       Oh, I will. 

DAN       Promise? 

DON       I did when we got married. 

_[They are both standing now, and have started to walk towards each other, without actually interacting.  They continue to walk straight for each other until they are a fraction of an inch from touching, then a sound distracts them both – they look in opposite directions, away from each other.]_

DAN/DON   I’ve got to go. 

_[Laughter.]_

DON       Work?

DAN       Photographs simply must be taken.  You?

DON       I said I’d watch a film with Caoilfhionn. 

DAN       Ooh, what film’s that? 

DON       _The Martian._

DAN       I haven’t seen it yet. 

DON       Matt Damon grows potatoes. 

DAN       Thank you. 

DON       That’s what I’m here for. 

 _[Laughter.  They have moved now so that_ DON _stands where_ DAN _was originally sitting,_ DAN _standing at the top of the stairs at the 3 rd exit.  Both face way from each other.  Music – Earnestly Yours.  Pause.  They turn, making eye contact.  Pause.] _

DAN       Alright, love.  Bye. 

DON       Goodbye my darling.           

 _[Beat.  The two break eye contact, hanging up the phones and walking offstage.  As this happens, the other cast members trickle in, all moving quickly – there are things to be done.  They pick up pace as the sequence progresses, moving trunks around the stage, back, interacting with each other and working alone.  Soon_ DON _re-enters, and joins in the movement, helping with moving the trunks and anything else that he can help with.  After another few beats, all suddenly freeze except_ J _, who stands centre.  Beat.  The movement resumes in slow motion._ J _addresses the audience.]_

J         Time.  Time.  Time  
crawling by as fast as lightning  
sinking like clouds  
floating like water…  
Not water – like… like…  
I can’t seem to find my words.  Have you seen them?  Perhaps they were smothered by smoke, or sand dunes, or seconds.  No.  I had something to say, but I can’t quite… remember.  Should have written it down. 

_  
_

**Act 2, Scene 7**

_[Everyone moves at full speed again, rushing around_ J _to get their trunk to the back.  In the process, some trunks – which are held aloft – come open; papers burst out, raining over the stage._ J _watches them fall like rain.  The others keep moving, getting the papers back in the trunks, the trunks closed again and to the back._ J _seems to have to the wind knocked out of her, but she doesn’t panic.  Once all the trunks are to the back, everyone but_ J _smiles, pleased with themselves._ DON _takes the floor,_ CAOI _by his side.  Just as he’s about to speak,_ J _turns to listen and join the scene._ DON _speaks at about 2.15.]_

DON       First of all, a mighty big well done to all of you.  When you first suggested this last September I thought you were mad.  And now you’ve gone and done it, which has confirmed my suspicions.  But the important thing is that we’re here.  The first Aldridge and Pemberton Festival of Arts is about to begin. 

_[Clapping and cheering from the students.]_

But there’s a lot of work to do before it can.  The gates will open at four thirty.  We need tables up, tents secured, art in place, costumes ready – you know the drill.  Caoilfhionn has everything written down, if you’re unsure of what to do, they have the answer.  But you should all know your first jobs.  Ready?  _[Pause.]_ Let’s get to work. 

 _[Everyone does exactly that, and moves the trunks into position for the Gallery, with noise and bustle and an air of excitement, which ends with the music.  After this, exit all except_ J _, who_ _once more addresses the audience.]_

J         Ladies, Gentlemen, and variations thereof, welcome to our Festival of Arts!  I shall guide you around the attractions we have here for the next three days – you can expect exquisite artwork, thrilling drama, beautiful music, and perhaps one or two private moments the average festival-goer might not have bargained for.  After all, you have come to see a play – I haven’t forgotten that. 

 

 

**Act 2, Scene 8**

_[The Gallery.  As_ J _continues speaking,_ FIN _enters._ CHARLOTTE _is in the SL wings.]_

J         First we come to the Gallery – 6.14 on Friday evening.  Two of the schools’ most brilliant students, Finley Aldridge and Charlotte Pemberton, are your tour guides here for this evening. 

 _[_ J _moves up and takes her place somewhere in the audience – either in a seat, or even up in the tech box – actor’s choice._ FIN _is looking a little despondent, and we hear_ CHARLOTTE _from off-stage.]_

LOTTIE    _[O/S]_ He studies English Literature, Art, and Theatre Studies at Pemberton.  You can see quite a few examples of his work around the Gallery.  Enjoy the pieces! 

 _[Enter_ CHARLOTTE _SL.  She pauses on seeing_ FIN _, moves slowly towards him, stops before she reaches him.]_

          People seem to be enjoying it all.  _[Pause.]_ I actually had someone ask to buy one of Jack’s pieces just now.  Not a bad idea, I thought, so I got their email address and number, said I’d ask the artist and let them know.  Jack could make quite a bit on it, really.  _[Beat.]_ How are you doing? 

FIN       Fine. 

LOTTIE    ‘Fine’?  Finley, you haven’t spoken to me properly since before Christmas, is ‘fine’ really all you can manage? 

FIN       Oh, you want to talk to me now?  

LOTTIE    Finley, you’re my cousin.  You’re practically my brother, why on earth-

FIN       Don’t give me that. 

LOTTIE    Give you what? 

FIN       You’ve hated me for years, don’t act like you haven’t. 

LOTTIE    What makes you think that? 

FIN       Maybe the fact you’ve been telling everyone that?  _[Beat.]_ Yeah, Cecilia tells me these things. 

LOTTIE    Fin, I never-

FIN       Don’t lie to me!

LOTTIE    I’m not the one who’s lying here.  If Cecilia said that then she’s the one you can’t trust. 

FIN       I can trust her.  She tells me everything, unlike some people. 

LOTTIE    Really?  Did she tell you she snogged Alex at the party last week? 

FIN       She didn’t go to the party last week.  She Skyped her mum – that’s why she was so tired Sunday, she was up until three given the time difference. 

LOTTIE    Is that what she told you?

FIN       Yes, because it’s true. 

 _[Pause as_ CHARLOTTE _gets her phone out and pulls up a photo, which she gives to_ FIN _.]_

LOTTIE    Funny way to Skype her mum, with vodka, draped around a guy. 

 _[_ FIN _takes the phone, stares at it as disbelief, confusion, and betrayal cascade through is world._ CHARLOTTE _looks up to him, and something suddenly clicks.  He’s not being closed-off, he’s not aggravating her, he’s not even just naïve as to what_ CECI _is like – he’s honestly been made a victim here.  Another moment, and we see the cogs turning in her mind.]_

          What else has she told you?

FIN       That parties are stupid and I shouldn’t go to them.  That only idiots drink alcohol.  That I’m the only one in the world she could ever love like that. 

LOTTIE    Fin-

FIN       That she would never lie to me, because she loves me. 

LOTTIE    Finley-

FIN       That she loves me. 

 _[Pause._ FINLEY _looks back to_ CHARLOTTE _.]_

What else has she lied about? 

LOTTIE    What did you mean – she tells you everything, unlike some people? 

FIN       She told me the only people I can trust are people who tell me everything. 

LOTTIE    Everything? 

FIN       Yeah.  Quite literally.

LOTTIE    What have you told her? 

FIN       Everything.

 _[Pause._ LOTTIE _takes her phone back, puts it back in her bag.  Beat.  She reaches out and grasps_ FIN’s _arm, gives it a gentle squeeze.  Beat._ FIN _crumples under the truth,_ LOTTIE _wraps her arms around him.  Another pause, and they are settling back into each other’s worlds, all the better for it.  They are family, after all.  The hug breaks, and they look at each other.]_

LOTTIE    What are you going to do? 

FIN       Tell her everything. 

 _[They manage a smile, and_ J _comes back down to the stage.  As she speaks, all except_ DAN _enter, shifting the cases to the set of_ ESMÉE’s _play.]_

 

 

**Act 2, Scene 9**

_[_ ESMÉE’s _play.  All exit except_ J _,_ ESMÉE _,_ JACK _, and_ CAOILFHIONN _.  Other than_ J _, all are frozen.]_

J         9.46, Friday night.  Under My Skin – a play written by Esmée Patel, one of the students at Aldridge.  In this scene, Reese – played by Caoilfhionn McGuire – has been forced to come out to her parents, Lyyn and Isaac, played by Alice Duff and Jack Boyadjiev. 

 _[_ J _once again takes a place in the audience – does not have to be the same place she was last time._ ESMÉE _,_ JACK _, and_ CAOI _(now_ LYYN _,_ ISAAC _, and_ REESE _) unfreeze in the scene.  At some point during the scene,_ DAN _enters and sits down quietly in the audience.  He should not draw attention, and the scene should just continue as ever.]_

LYYN      You should have just told me!

REESE     Why?  Henry never had to tell you he liked girls. 

LYYN      Actually, he did.  I wasn’t exactly thrilled when he had a secret girlfriend. 

REESE     No, no, he has to tell you _when_ he likes _a_ girl.  I have to tell you _that_ I like _girls_.  See the difference? 

LYYN      I just don’t understand why you’re making such a big deal out of this.  Your father and I accept you!

REESE     You’re the one making a big deal out of this!  Making it about you as always. 

ISAAC     Right that’s enough!

REESE     She does!

LYYN      Look, Reese, if you love this girl-

REESE     Yes, I love this girl, and I hate myself for it.  Just as much as the world hates me for it because that’s the world we live in.  I hate that I cannot love her in all the ways that I should.  I hate that one day my love might stop being enough for her.  I hate _how_ I love her and the world hates me for that too.  This world was constructed to make people like you happy and people like me feel wrong.  Okay, you accept me, have you ever thought that maybe I don’t? 

_[The fact of this crushes her – it’s the first time she’s said it out loud, and it’s taken all of her energy.]_

That Pride isn’t about getting you to accept us, it’s about telling ourselves we’re allowed to be accepted?  Because you’ve spent hundreds of years telling us that we’re not.  Because we spend our lives trying to find something we can own, somewhere we can be safe, something that’s ours.  Whether it’s an event, or our words, or ourselves.  But you’ve managed to make it about you again.  Well fucking done.

 _[Exit_ REESE _._ LYYN _and_ ISAAC _look at each other._ LYYN _is outraged, but_ ISAAC _doesn’t share her feelings.]_

LYYN      Honestly, some people. 

ISAAC     Quite. 

LYYN      What’re you looking at me like that for? 

_[Beat.]_

ISAAC     I’m going to talk to Reese. 

LYYN      You do that, and you tell her when she’s ready to apologise I’m ready to accept it. 

ISAAC     When she’s ready to apologise? 

LYYN      Yes, what about it? 

ISAAC     Were you not listening just then?  Did you learn nothing?

LYYN      I leant she’s utterly self-absorbed. 

ISAAC     She’s not the self-absorbed one here, Lyyn. 

LYYN      What do you mean by that? 

ISAAC     Oh you know what I mean. 

LYYN      Isaac-

ISAAC     I don’t want to hear it.  Now, I am going to talk to our child, our child who is hurting, who is upset, and try to comfort her and give her support.  Like parents are supposed to.  When you’ve gained a hold on your senses, I suggest you join us.  Although I can’t promise Reese will be as accepting of your apology as I will. 

 _[Exit_ ISAAC _._ LYYN _is left alone, looking like someone’s taken the ground from beneath her.  She looks up to where_ REESE _and_ ISAAC _left, then exits in the opposite direction._ J _returns to the stage, and all except_ DAN _enter once more to push all trunks to the back.]_

_  
_

**Act 2, Scene 10**

_[The stage is set for the main event of the Festival – the Showcase; all trunks to the back._ J _is centre stage.]_

J         We move forward a day now, to 7.30 Saturday evening - the Showcase.  We have seen a few songs, heard a few monologues, and everyone is enjoying the event.  The compere takes the stage once more to introduce the next act. 

 _[This time_ J _does not take a seat in the audience, but instead exits.  Enter_ CAOI _, who takes centre and addresses the audience.]_

CAOI      And now we have another group from Aldridge.  Alice Duff and our English teacher – my brother - Donovan Lewis-McGuire will play now for our very own, wonderfully talented Esmée Patel.  This is Healah Dancing. 

 _[Enter_ ALICE _, and_ DON _.  They pull out a trunk, which_ DON _uses as a piano._ ALICE _takes something out of the trunk which will act as a cello.  When_ DON _enters the stage,_ DAN’s _eyes are only for him.  Exit_ CAOI _.  Enter_ ESMÉE _.  She is dressed now in a sari and traditional Indian makeup.  Music – Healah Dancing.  The dance begins slowly,_ ESMÉE _is collecting herself for the first few bars.  The dance is inspired by traditional Indian dancing, but this is_ ESMÉE’s _dance.  She created it from everything that constructs her life, including England and the people she lives with and loves.  At first,_ ESMÉE _is alone onstage.  After a while, the others start to join her onstage – not in the dance, but as people, simply existing._ J _enters with_ JACK _, smiling brightly, pouring over a sketchbook,_ JACK _has paint on his hands and a camera over his shoulder,_ J _has a pencil tucked behind her ear.  Maybe_ JACK _takes a photograph,_ J _could scrawl something in the sketchbook.  They exit together._ FINLEY _and_ LOTTIE _walk together, actually smiling, apparently talking._ CECI _comes in from another entrance, sees them, watches them.  She does nothing.  They leave at the same time._ ALICE _breaks away from her cello, watches_ ESMÉE _dancing, nearly interacts with her, but doesn’t, goes back to her instrument._ ESMÉE _continues dancing all the while._ DON _notices_ DAN _in the audience, double takes.  The two gaze at each other, not quite smiling._ ESMÉE _is dancing.  Neither man moves.  Actors can re-enter in different groups, on different days.  They can even portray moments of the festival thus far;_ LOTTIE _tells_ JACK _about someone wanting to buy a painting,_ JACK _and_ FINLEY _become friends again,_ CECI _tries to talk to_ LOTTIE _, but she ignores her,_ CAOI _,_ JACK _, and_ J _spend time together, as the group should.  At the end of the dance,_ ESMÉE _is on the floor, breathing heavily._ ALICE _drops the cello and goes to her.  Both are smiling._ DON _is still transfixed by the sight of his husband._ ALICE _is breathing soft congratulations to_ ESMÉE _, who clutches her hand, then goes to embrace her.  Enter_ CAOI _as_ ESMÉE _rises, and exits wheeling_ ALICE _with her.  As_ CAOI _speaks,_ DON _stands, and crosses to_ DAN _, who also rises, very slowly.]_

Well wasn’t that something?  Well done, Esmée, and of course Alice and Mr McGuire – congratulations to you all.  Esmée actually choreographed that dance herself.  A real treat to see that.  Now, for your entertainment, we have a collaborative effort from both schools.  Put your hands together now to welcome Natasja and the Swing Kings. 

 _[As they speak,_ CAOI _will get softer and softer, both with their voice and movements.  The actor can throw in any lines they want, even jokes, keep up the compere banter.  But do not detract from_ DAN _and_ DON _, as they approach each other._ DAN _should come out from the audience here, come down to the stage to meet_ DON _.  The two gaze at each other like they can make up for all that time apart in this moment.  It’s_ DON _who makes the first move, shakily raising his hand to_ DAN’s _face, brushing the hair from it, resting softly on his cheek.  Beat.  For them, they are alone - in space, in time, in thought.  They come together – it is unclear who, if either, moved first – and kiss softly yet desperately. It has been almost ten months since they were in the same country, let alone the same room.  When they break, it’s almost as if they can’t quite believe they’re there.]_

DON       Hi.

DAN       Hi. 

 _[Laughter.  Pause._ DAN _takes_ DON _by the hand.]_

          Come on – I have someone I want you to meet.

_[A breath.  Both are beaming.  All exit.]_

_  
_

**Act 2, Scene 11**

_[Outside on a crowded field.  People are everywhere around – we don’t see or hear them, but the scene has the feel of crowded excitement.  Enter_ LOTTIE _, with a strawberry ice cream cone.  Beat.  Enter_ J _, chewing a pencil.  She beams at_ LOTTIE _.  Beat.  Enter_ ALICE _, pushed onstage by_ ESMÉE _, followed by_ CAOI _who is holding a choc ice and a lolly._ ALICE _has a soft cone.  Once they come to a stop,_ CAOI _gives_ ESMÉE _the lolly, taking another bite of the choc ice as they do so.]_

ALICE     Well I think this has been rather a success. 

LOTTIE    Rather. 

CAOI      We should do it again next year. 

_[Beat.]_

ESMÉE     It’s been one hell of a year. 

 _[Beat.  Enter_ JACK _, holding_ J’s _notebook.]_

JACK      J! 

 _[_ J _looks to him, and suddenly lights up.]_

J         Oh Jack you wonder – where did you get it? 

JACK      _[Handing over the book.]_ Some lady gave it to me at the creative writing table.  She said to say congratulations.

J         _[Looking inside the book.]_ Oh my gosh.  What- what the-?

ESMÉE     What?

ALICE     What the what?

J         She left a note in the front page.  She… she wants to publish my poetry. 

JACK      She gave me her card.  _[Handing the card to_ J _]_ Someone from Eyewear Publishing. 

J         Eyewear?  They published Keaton Henson’s poetry!

LOTTIE    Who’s Keaton Henson?

J         Oh he wrote all the music in this play.  This is incredible! 

LOTTIE    Well you better contact her as soon as possible. 

J         Oh, I will. 

CAOI      I’m so happy for you, J.

JACK      Proudest moment of my life right now. 

 _[_ J _takes_ JACK’s _hand, grinning at him.]_

J         I’d have just been glad to get it back at all. 

JACK      Oh and she said finish that first one.  It’d be a shame to leave it there. 

 _[Freeze.  All exit except_ ESMÉE _.  Music – You.  The following movement follows the music.  No words are spoken.  At the end, all are onstage._

_‘If you must wait […] don’t do it alone’_

ESMÉE _alone onstage – she has lost much in a short period of time.  Enter_ ALICE _.  The movement is symbolic of_ ALICE _comforting_ ESMÉE _, but_ ESMÉE _is able to support_ ALICE _by the end of the section, as_ ALICE _can support_ ESMÉE _.  Exit_ ALICE _and_ ESMÉE _together._

_‘If you must leave […] as though it were unique’_

_Enter_ FIN _and_ CECI _.  An argument,_ CECI _tries to get aggressive but_ FIN _fights back – not necessarily physically.  Enter_ CHARLOTTE _.  At the end of the section,_ FIN _leaves with his cousin._ CECI _is alone.  She leaves the other way._

_‘If you must die […] remember your life’_

_Enter_ CAOI _.  They are alone, and although they entered strongly, they close in on themselves, running their hand over their wrist.  Enter_ J _.  It is solidarity and strength.  Enter_ JACK _._ CAOILFHIONN _smiles.  They come together._

_~Interlude~_

_Supportive, almost celebratory movement, first between_ CAOI _,_ J _, and_ JACK _, then between_ CHARLOTTE _and_ FIN _, between_ ALICE _and_ ESMÉE _, and between all of them._

_‘You are all’_

_All exit._

_‘If you must fight […] darling one’_

_Enter_ DAN _and_ DON _.  In each other, there is strength and comfort._ DAN _is holding_ BASILAH _.  They stand together, then_ DON _lays out a blanket and they sit together._

_‘Just live’_

_Enter_ CAOI _,_ J _, and_ JACK

_‘Just live’_

_Enter_ CHARLOTTE _and_ FIN _, and_ CECI _3 rd.  _

_‘Just live’_

_Enter_ ALICE _and_ ESMÉE _._ BASILAH _stands, facing out, and smiles at the audience._

J         I love these words of ours  
the way they shape our souls.  
They’re our connection to each other  
to young and to old. 

CAOI      Our speech allows us our space  
lets us fill our skin.

JACK      Covers up blank canvasses  
and colours us all in.

DAN       The distances between us melt  
against the warmth of breath.

DON       And so much ends up spoken  
when there are no words left,  
for though the past escapes us  
nothing is ever gone.

LOTTIE    You can trace patterns of speech  
between familiar bonds.

FIN       They build up broken bridges  
after the fire is burnt.

CECI      They heal wounds just as soon  
as they can cause the hurt.

ALICE     So let’s learn and let’s discover  
let’s stretch our speech - be free

ESMÉE     let’s find out all the words  
which mean that you love me.

J         For they create what’s written,  
sketched out in our time.  
Our words make up our story  
scrawled between the lines.

_All come together for bows._

**End of Act 2**

 


End file.
